結論を申しますと、あらゆる局面で「音楽」というものを、「主役である自分」を「伴奏」する物＝「BGM」と捉える主体は、ジェンダー もメディア関係なく、「嫁はオレを陰から引き立ててオレより目立つな」と思っている「ご亭主」だと見なすことができます。
そんな「ご亭主」たちは、勝手に甘えたくなった時、セックスしたくなった時だけ、「音楽」という「嫁」にがっついたり「嫁ではない者」に激しい恋愛をしたりします。
音楽はいまだにそう扱われる可能性の中で生きています。ご亭主の嫁になるかならないか。ファミニズムとしても、古典的すぎてめまいがしそうなほどでしょう？（菊地成孔）
To put it simply, regardless of gender or medium, the kind of person who views "music" in every context as merely "BGM"—something that "accompanies" the self (the protagonist) rather than standing on its own—can be likened to a "husband" who expects his wife to support him from the shadows without ever outshining him.
Such "husbands" will only pounce on "music"—their "wife"—or engage in passionate affairs with "someone other than their wife" when the whim strikes them or when they crave sex.
Music still exists in a reality where it is liable to be treated in precisely this way. Will it become the husband's wife, or not? From a feminist perspective, the scenario is so old-fashioned it’s enough to make one’s head spin, isn't it? (Naruyoshi Kikuchi)